scholarly journals Designing an archaeology centre for students

Author(s):  
Deniz Hasırcı ◽  
Silvia Rolla ◽  
Zeynep Edes ◽  
Selin Anal

This paper is about the interdisciplinary approach to the interior architecture studio education. The second year Interior Architecture and Environmental Design at the Faculty of Fine Arts and Design at the Izmir University of Economics, Izmir, Turkey, was given the task of designing a modular living unit for archaeology students. The brief expected the design of a living unit for students out of two- and three-dimensional modules. There were three aims of the project: first, the advantages of the process being interdisciplinary and collaborative working closely with the archaeology centre; second, the role of modularity introduced at the interior scale; and third, the structure of the semester enabling an understanding of the interior architecture process, delivered at the second year level. In the paper, the means by which the aims are fulfilled will be discussed with examples from students’ projects, and furthermore, directions for research are discussed with an emphasis on design thinking. Keywords: Interior architecture education, design education, design process, design thinking, archaeology.

Author(s):  
Gokçe Atakan

“Design Studio” is acknowledged as the core course for “spatial design” in both architecture and interior architecture education. The main idea of the design studio is based on uniting all the gathered information from other classes in a context of an architectural project. The key expectation from the studio is to teach ‘how to think creatively’. This paper, particularly concentrates on interior architecture education. Design studios in Turkey, mostly use what is referred as the “contextual model” which starts with a given problem/ situation and proceeds from that given context. During the process of this approach, the instructor guides the student, discusses space generation and corrects technical mistakes.  Taking “creative thinking” into consideration, it is important to constitute another model, which is referred as the “conceptual model”. This process starts with student’s thoughts triggered by chosen materials, and the instructor communicates through abstract and intellectual thinking, discusses idea generation and, corrects technical mistakes. In this paper, the method of comparative analysis is used to examine the advantages and disadvantages of each above mentioned design studio model. The comparison of models is done by criteria derived from Salama’s (1995) survey about the current situation in design studios. As a result of the study it is observed that, both models have some advantages and disadvantages regarding seven excogitated design studio criteria.Keywords: design education, design studio, creative thinking, ınterior architecture.


2019 ◽  
Vol 66 ◽  
pp. 01040 ◽  
Author(s):  
Gülsüm Damla Aşkın

The design process in Interior Architecture education is the basis of all the studio courses and design-oriented courses. In this process, it is important for students to develop their creative thoughts and find different ideas. Students find it difficult to produce creative design ideas. As well as producing ideas, students also have difficulty in determining problem status and performing user analysis. In this respect, implementation of different methods and activities are important in the process. One of these methods is the integration of gamification into the design education. This education method was conducted as a workshop with a group of Interior Design students during the Spring term of 2018–2019 in İstanbul Şehir University. The students who took the project course for the first time were included in the research. In the workshop, firstly, the game ”Who? With Whom? Where? How?" was played manually, and the user ID was defined. Secondly, the results of the game were converted to the function scheme. After the study, a survey was conducted with the students. It was observed that the method of gamification increased the motivation of the students and offered more than one alternative in design process compared to the traditional thinking methods.


Author(s):  
Sally Harrison

Design education, especially in an undergraduate course of study, seeks to prepare students for professions and for citizenship in a world they hardly know. The studio typically provides only a surrogate experience in addressing formal and spatial problems, and is limited by time, by its geographic space, and by a dialogue that is more often than not, self-referential. It very rarely engages systemic questions of public policy, or the specific challenges of implementing at full scale ideas that are conceived through representational means. The constrained intellectual context is most poignantly seen in the urban design studios where problems are situated in the real world, and where issues outside the purview of design are found embedded in a place. Form-focused studio exercises that are necessarily a part of beginning architecture education are inadequate for exploring the indeterminacy of urban space and the complexity of human environments. When students enter an urban design studio, especially when they undertake community-based projects, they must take up the mantle of citizenship and engage in an enterprise that is fundamentally relational and grounded in experience. They need more information and more ways of knowing the world than traditionally the design disciplines can offer. This paper presents the outcomes of an experimental neighborhood-based teaching project undertaken as a collaboration among classes in architecture, landscape architecture, urban geography and the fine arts at Temple University. Although initiated through the architecture faculty’s desire to enrich its own undergraduate urban design studio, all the collaborators shared our concern about the narrowing effects of disciplinary bracketing on student learning, especially when the goal was to address real world situations. Each discipline brought to the project its particular disciplinary culture -- its language, methodology and areas of concern -- and a shared aspiration to puzzle together these diverse perspectives around questions of making places that are meaningful, humane and sustainable. The struggles and synergies among disciplines were alternatively inspiring, annoying, challenging, rich and imperfect. But intense engagement with a community re-centered the dialogue from inside the academic context to outside, and framed a multidisciplinary way of thought. The community itself proved to be a powerful coalescing agent; the inherent layering of issues in the real-world context made it virtually impossible to remain insensible to interdependencies in life that transcend disciplinary boundaries. Here Richard Sennett’s definition of what constitutes a democratic urbanity was applicable. The Greek term for “public”, synkoikismos, means “to bring together in the same place people that need each other but worship different household gods.” (47) This deceptively simple public-making concept became the basis for a process of learning, and a vehicle for working with the larger truths about how cities are formed and experienced.


2020 ◽  
Vol 4 (3) ◽  
pp. 11-29
Author(s):  
Huseyin Ozdemir ◽  
Gokce Ketizmen Onal ◽  
Aysen Celen Ozturk

Informal education contributes to the development of the student's design skills and the performance of architecture education by addressing subjects that do not fall directly into the curriculum. This study is mainly about the development of students' design thinking skills in informal education. In order to make an assessment, a case study was conducted on the Bademlik Design Festival (BTF), which can be described as an important example in the field of informal education. By adhering to the method, surveys were applied to the instructors and students participating in the BTF. The concepts obtained according to the survey results are based on a detailed conceptual framework. Then, by interpreting this conceptual framework, students' learning outcomes are revealed. As a result, it is observed that the students in the workshops conducted at the BTF gain design thinking skills such as “interaction, free and original thinking, innovation, communication and dialogue”.


Land ◽  
2020 ◽  
Vol 9 (5) ◽  
pp. 161
Author(s):  
Carlos Carbonell-Carrera ◽  
Jose Luis Saorin ◽  
Stephany Hess-Medler

Professional landscape architecture organizations have requested training from educational institutions based on new skills and methodologies in the curriculum development of students. Landscape architects need to visualize and evaluate the spatial relationships between the different components of the landscape using two-dimensional (2D) or three-dimensional (3D) maps and geospatial information, for which spatial orientation skills are necessary. The data from six workshops conducted throughout the 2010–2020 period, in which 560 second-year engineering students participated using different strategies and technical tools for spatial orientation skills’ development, were collected in a unique study. Factors such as the technology used, the gaming environment, the type of task, the 2D/3D environment, and the virtual environment were considered. The Perspective-Taking Spatial Orientation Test was the measurement tool used. The results show that mapping tasks are more efficient than route-based tasks. Strategies using 2D and a 2D/3D combination are more effective than those with only 3D. First-person perspective gaming environments are also a valid alternative. The technologies applied in this study are easy to use and free, and a measurement tool is provided. This facilitates an interdisciplinary approach between landscape architecture education and professional practice since these workshops could also be easily carried out by professional bodies for landscape planning and management.


2020 ◽  
Vol 179 ◽  
pp. 02035 ◽  
Author(s):  
Boxin Xiao

China’s design education has not developed as fast and well as the economy. Instead, problems such as blindly imitating foreign design education, failing to deeply develop students’ potential, and failing to develop students’ design thinking have emerged. Since the industrial revolution, design has been repeatedly defined and revised at different times. Similarly, design education needs to be constantly discussed in combination with the country, era, culture and population. Colleges and universities should not train “hand-drawn/modeling machines”, but let every student find himself and know human beings; Have empathy for others, insight into the environment, and confidence to use your strengths. Because design and education have to deal with people, it means that they don’t have to follow a process, summarize a method to get the truth. Teachers, students and designers have been involved in adjusting cognition to find more responsive answers to this era.


Author(s):  
Foong Peng Veronica Ng

Literature on current architectural pedagogy have posited the issue that architectural education lacked change and questioned whether current studio teaching provides adequate design-thinking education and connection to the real world. The increasing importance on the relationship between architecture, community, and place sets a backdrop as a catalyst for improvement within the field, particularly in how this relationship frames the teaching and learning within the design studio. Using an architectural design studio module conducted in the Bachelor of Science (Honours) in Architecture programme at Taylor's University, this chapter discusses the principles for an alternative design studio pedagogy and the values it brings about. The author argues that design education underpinned by “people” and “place” engages students' increased interesting and motivation for learning, with the awareness and sensitivities to the real and scholarly setting, hence bridging the gap between reality and education.


2021 ◽  
Vol 5 (1) ◽  
pp. 39
Author(s):  
Carmen García Sánchez

Este artículo analiza y revela las claves de una propuesta de proyecto de innovación educativa, ideada y planeada por mí para ser desarrollada, como profesora e investigadora postdoctoral, en la Escuela de Arquitectura integrada en la Royal Danish Academy of Fine Arts de Copenhague (KADK), en el Instituto de Arquitectura y Diseño (IAD). El proyecto, donde el aula se concibe como un laboratorio de arquitectura lugar de encuentro entre las asignaturas de Diseño Arquitectónico y Construcción de Edificios, integra una variedad de metodologías educativas innovadoras: Gamificación, Aula Invertida (Flipped Classroom), Aprendizaje Basado en Retos, Pensamiento de Diseño (Design Thinking), Inteligencia Colectiva, etc… A través de él, los estudiantes de arquitectura son capaces de mejorar su creatividad y adquirir diversos conocimientos, fortalezas y habilidades complementarias, entre ellas: La creación de un espacio privado, la reflexión sobre la idea de habitar; la exploración del diseño arquitectónico conectado con la naturaleza; nociones acerca de diseño sostenible y reciclaje; la progresión de su pensamiento crítico y creativo; el desarrollo de sus habilidades de comunicación gráfica, escrita y oral; la activación de su pensamiento independiente y original; y la mejora de sus habilidades de liderazgo y organización, co-diseño, gestión del tiempo, habilidades de resolución de conflictos/problemas y toma de decisiones. El artículo ofrece recursos para la buena práctica e implementación de la innovación educativa, y, por lo tanto, para facilitar la innovación a nivel del aula. Facilita herramientas para superar los desafíos que enfrentan los modelos de aprendizaje innovadores en la educación de Arquitectura. Pero sobre todo tiene como objetivo fomentar la innovación en la educación del diseño arquitectónico al empoderar e inspirar a los profesores y otros miembros del personal educativo para que utilicen métodos de enseñanza innovadora, mientras comparten su mejor praxis y experiencia con sus colegas.AbstractThis article analyzes and reveals the keys to an educational innovation project proposal, conceived and planned by me to be developed, as a professor and postdoctoral researcher, at the Integrated School of Architecture at the Royal Danish Academy of Fine Arts in Copenhagen (KADK) , at the Institute of Architecture and Design (IAD). The project, where the classroom is conceived as an architecture laboratory, a meeting place between the subjects of Architectural Design and Building Construction, integrates a variety of innovative educational methodologies: Gamification, Flipped Classroom, Challenge-Based Learning, Thinking of Design (Design Thinking), Collective Intelligence, etc ... Through it, architecture students are able to improve their creativity and acquire various knowledge, strengths and complementary skills, including: The creation of a private space, reflection on the idea of inhabiting; the exploration of architectural design connected with nature; notions about sustainable design and recycling; the progression of your critical and creative thinking; the development of your graphic, written and oral communication skills; the activation of your independent and original thinking; and improving your leadership and organization skills, co-design, time management, conflict / problem solving skills, and decision making. The article offers resources for good practice and implementation of educational innovation, and therefore to facilitate innovation at the classroom level. It provides tools to overcome the challenges faced by innovative learning models in Architecture education. But above all it aims to foster innovation in architectural design education by empowering and inspiring teachers and other educational staff to use innovative teaching methods, while sharing their best practice and experience with their colleagues


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